The Catholic English Martyrs in England and the USA

I stated yesterday that the Feast of the English Martyrs is celebrated in the Dioceses of England, but the Memorial of the English Martyrs is celebrated in the United States by the Personal Ordinariate of the Chair of St. Peter. St. Gregory the Great Ordinariate parish in Chestnut, Massachusetts provides these notes on today's Feast/Memorial:

A feast day not celebrated in the United States anywhere except the Ordinariate falls today, the fourth day of May; it honors those Catholics martyred for remaining true to the “old faith,” mostly during the century and a half following Henry VIII’s decision to split the English Church from its ancient submission to the See of Peter.

These men and women were called “Recusants” because they refused to attend the services of the new Anglican church; the name comes from the Latin verb “recusare” — to refuse or object. The laws under which they suffered began under Elizabeth I with a statute against “Popish recusants” in 1593; it and subsequent laws (levying many penalties, up to and including death) were finally repealed by Oliver Cromwell (of all people) in 1650: but his intention was the relief of “other” non-conformers, the Calvinist Puritans; during the Puritan Commonwealth Catholics and Anglicans were united through persecution by Government. The recusant laws, per se, were not reinstated with reestablishment of the monarchy in 1660; but legal persecution of English Catholics only came to an end with Catholic Emancipation — in 1829. . . .

Looking farther afield--the nearest Ordinariate Parish to me is in Kansas City, Missouri--I noted that the Men's Choir of Westminster Cathedral in London is singing one of the Masses composed by William Byrd and two of his motets at the evening (17:30) Mass to celebrate the Feast of the English Martyrs. Martin Baker has selected the Mass for Three Voices, Ne Irascaris Domine, and Civitas sancti tui.

Since William Byrd knew some of the of the Jesuit missionaries and certainly met St. Robert Southwell, singing his work at Mass today is most appropriate. As John Milsom wrote in the liner notes of the Westminster Cathedral Choir's 2014 recording of Byrd's Three Masses:

The Englishness of Byrd’s Masses must also be mentioned, for these settings do not sound remotely like the Masses of Lassus or Palestrina. This is partly because of the way they were made, partly because of the way they allude to their Tudor past. Unlike most other Catholic composers of his generation, Byrd composed his three Masses freely, without directly quoting any pre-existing music. Hence the contrast with Palestrina and Lassus: those two composers habitually based their Masses on models, such as a motet or a plainchant melody, so that the Mass becomes a commentary on that model. Byrd, in contrast, simply took the words of the Mass as they came to him, and savoured them intuitively, using whatever melodies came into his head. Sometimes he makes audible allusion to the musical styles of his Tudor past, for instance through the turn of a melodic phrase or the choice of a chord or a selection of texture. By doing so, he invoked the music of his boyhood—the truly Catholic music of the reigns of Henry VIII (died 1547), and of England’s last Catholic monarch, Queen Mary (reigned 1553–8), which coincided with the years when Byrd was a boy chorister. A nostalgia for the Tudor past therefore haunts these works, especially in the Mass for four voices, which was the first to be composed.

It is in fact possible to date the three Masses with reasonable precision. In 1589 and 1591, Byrd published two collections of motets—called by him ‘sacred songs’ (Cantiones sacrae)—that summed up his achievement to that date. Immediately after that, Byrd’s mind seems to have turned to the words of the Catholic Mass, and his three settings were published in quick succession between around 1592 and 1595. The precise years of publication are unknown, since the prints themselves have no title pages; they are simply slender pamphlets of sheet music, headed with the name ‘W. Byrd’. Careful detective work, however, shows that the Mass for four voices, which is the most intimate and intense of the settings, came first. It was followed a year later by the Mass for three voices, which is a smaller and tighter work, and then by the Mass for five voices, which is the most serene of the three. This five-voice Mass sets the tone for Byrd’s next and final project, the great cycle of Gradualia—settings of liturgical texts for the Catholic calendar from Advent to Trinity—which went to press in two volumes in 1605 and 1607.

The two motets are usually interpreted to refer to the situation of Catholics in England:

Ne irascaris Domine satis,
et ne ultra memineris iniquitatis nostrae.
Ecce respice populus tuus omnes nos.

Be not angry, O Lord,
and remember our iniquity no more.
Behold, we are all your people.

Civitas sancti tui facta est deserta.
Sion deserta facta est,
Jerusalem desolata est.

Your holy city has become a wilderness.
Zion has become a wilderness,
Jerusalem has been made desolate.

David Cashman offers this analysis:

Ne irascaris Domine is a five-part Latin motet by the Catholic English composer, William Byrd (1543-1623). It is one of three works known as the 'Jerusalem' motets (along with Tribulations civitatum and Vide Domine afflictionem nostram). Byrd wrote these motets in the 1580s as an act of protest against the Elizabethan Catholic persecutions. As his text, Byrd cunningly chooses here an irreproachable passage of scripture from Isaiah, telling of the Babylonian captivity.

Ne irascaris' general atmosphere of quiet contemplation coupled with solid polyphonic writing make this a deservedly well known work. Departing from his usual tradition, Byrd sets the appeal to God of Ne irascaris Domine polyphonically, continuing this writing throughout the work. Byrd uses minimal resources (in particular, the melody, which does not move out of the range of a fourth until the end of the work) to create a classic.

The second part of this work (from Civitas sancti) is well-known as the Anglican hymn Bow thine ear. Despite the structure being thus truncated, the skilled contrapoint and expressive writing of the original make this one of the gems of the Anglican hymn tradition.

Holy Venerable, Blessed, and Canonized Martyrs of England and Wales, pray for us!

Five Years Ago Today: Day 3 of Papal Visit (Mass and Eucharistic Vigil)

The state-sponsored aspect of Pope Benedict's visit ended mid-morning on Saturday, September 18, 2010 after meetings with the Prime Minister, Deputy Prime Minister, and leader of Her Majesty's Opposition. In only the second public Mass of the visit, the Holy Father celebrated Mass at Westminster Cathedral (Votive Mass for the Most Precious Blood at the Cathedral dedicated to the Most Precious Blood). The Chant Cafe blog commented on the solemnity of the celebration and the particular selection of William Byrd's Mass for Five Voices:

At long last, and the wait was very long, the world has seen an example of a magnificent Papal Mass, celebrated by the Pope Benedict XVI in the Westminster Cathedral, with glorious decorum, perfect music, and holy dignity all around. We have so long been used to other things that it seem to take a while to fully settle into the reality that this was truly a Papal Mass fully worthy to be written up in the history books as a model and ideal -- even in the ordinary form of the Mass and even before the Mass translation is upgraded this time next year.

The musical Mass setting of choice for the occasion was the Mass for Five Voices by William Byrd (1539–1623). It is the most dramatic, most difficult, and most emotionally compelling of the three Masses that Byrd wrote for the Catholic Mass. In his time as Queen Elizabeth’s own composer, Byrd was writing English music for the Anglican Church by day and, by night, secretly composing music for the Catholic Church in hiding, for Masses celebrated in castles and manors untouched by the politics of the time.

There was so much poignant and thrilling about hearing this particular setting, performed perfectly of course, in the open daylight, in a restored Catholic Church in England, with the Pope presiding, at a Mass attended by the Archbishop of Canterbury himself. Byrd’s Catholicism is in hiding no more! Instead, it is available to the entire world in the context of a liturgical splendor unlike any we’ve yet seen. . . .

The extraordinary nature of this event was evident from the grand entrance, featuring a “Tu es Petrus” setting by Scottish composer James MacMillan, another man who has made his mark on history. The setting was regal and unapologetically so. It was a great example of modern liturgical music for procession. . . .

The German heritage of this Pope was honored with the Christus Factus Est by Anton Bruckner (1824-1896) at Offertory. I had never actually heard this piece before. This moment was a great one, surely for the Pope, who must know this music well, but also for Bruckner himself, who experienced in his own life a great deal of suffering for his own Catholicism. His greatness was never really acknowledge by his contemporaries and his unfashionable Catholicism tagged him as "pious and overly devotional" in the Germany of his times.

You can watch the Mass here.

In his homily at Mass and in his remarks during the Eucharistic Adoration Vigil later that night, Pope Benedict alluded to the Catholic Martyrs of England and Wales. In the homily:

Faithful to Christ’s command to “do this in memory of me” (Lk 22:19), the Church in every time and place celebrates the Eucharist until the Lord returns in glory, rejoicing in his sacramental presence and drawing upon the power of his saving sacrifice for the redemption of the world. The reality of the Eucharistic sacrifice has always been at the heart of Catholic faith; called into question in the sixteenth century, it was solemnly reaffirmed at the Council of Trent against the backdrop of our justification in Christ. Here in England, as we know, there were many who staunchly defended the Mass, often at great cost, giving rise to that devotion to the Most Holy Eucharist which has been a hallmark of Catholicism in these lands.

At the Eucharistic Adoration Vigil, held in Hyde Park, Benedict was preparing for the beatification of John Henry Newman the next. He commented on the proximity of Tyburn and the martyrs who suffered there:

Not far from here, at Tyburn, great numbers of our brothers and sisters died for the faith; the witness of their fidelity to the end was ever more powerful than the inspired words that so many of them spoke before surrendering everything to the Lord. In our own time, the price to be paid for fidelity to the Gospel is no longer being hanged, drawn and quartered but it often involves being dismissed out of hand, ridiculed or parodied. And yet, the Church cannot withdraw from the task of proclaiming Christ and his Gospel as saving truth, the source of our ultimate happiness as individuals and as the foundation of a just and humane society.

Byrd Yesterday and Today

No sooner do I prepare a post on the link to my StAR article on "Reading Between the Line(r Note)s: Tudor Church Music and Revisionist History" but I read about this new recording of William Byrd's three Masses, composed for five, four, and three voices, from The Choir of Westminster Cathedral (the Catholic Westminster in London). The purpose of the recording is to highlight the significance of these Masses in both the sixteenth and the nineteenth centuries:

A new recording of the most perfect of Tudor masterpieces, Byrd’s three Mass-settings, from the cradle of their nineteenth-century rehabilitation. Westminster Cathedral Choir is enjoying a vintage period, and here we hear its trademark sound in all its glory: unfettered, natural singing from the trebles underpinned by warm yet clear tones from the gentlemen.

This recording celebrates Byrd’s Catholic Masses in two ways simultaneously. Most obviously, it addresses great and timeless works, which themselves address great and timeless liturgical texts. But at the same time it reminds us that the revival of Byrd’s Masses in the late nineteenth century was pioneered by Roman Catholic church choirs. This is a point worth pondering. Since the accession of Queen Elizabeth I in 1558, the choirs of England’s Protestant cathedrals and college chapels have had their own distinctive musical repertory, which has flourished and grown in unbroken tradition. The anthems and services of Thomas Tallis, for instance, have never fallen from cathedral use; they have been the epitome of Choral Evensong and Eucharist for more than four centuries. This Anglican repertory, however, is not what Roman Catholic worship requires. When major Catholic choral foundations were established in late Victorian and Edwardian England, at Downside Abbey, the Brompton Oratory, and above all at Westminster Cathedral, there was a quest for new and more relevant music; and it was at these places that William Byrd’s three Latin Masses were revived. Hence the pertinence of this recording; it celebrates that Catholic revival no less than it celebrates the works themselves.

As John Milsom writes in the liner notes (!):

It is hard to imagine a time when William Byrd’s Latin Masses and motets were not a cherished part of England’s musical culture. Today these works seem to soar among the pinnacles of Tudor achievement, alongside the plays of Shakespeare, Byrd’s contemporary; yet for two hundred years, from roughly the mid-seventeenth century to the mid-nineteenth, they fell almost wholly from favour and use. This long neglect has nothing to do with their intrinsic quality, which has never been questioned. It is to do with the fact that they are Catholic music. Since 1558, England has been officially a Protestant nation, and Catholic culture has had to negotiate its place as best it can. Byrd’s Catholic music, composed for a suppressed minority group in the decades around 1600, was by necessity inconspicuous when it was new, and it was wholly shunned by the established church. Only in more tolerant times has it risen to the surface, to be recognized and loved for its true worth. . . .

. . . William Byrd, if he could hear these performances, would be amazed, for they are not at all what he would have envisaged. In the 1590s, when his Masses were composed, there were no Catholic church choirs in England, and he never imagined them being sung proudly and publicly in cathedrals for all to hear. Few hard facts survive about the kinds of performances Byrd’s Catholic works received in his lifetime, but we can speculate with a fair degree of confidence. In the age of the Spanish Armada and the Gunpowder Plot, England’s Roman Catholic community celebrated Mass covertly behind closed doors, taking pains not to be found out and punished or fined. Their secret services took place in rooms hastily converted into chapels, led by priests who led surreptitious lives. If music was used, then it was sung and played by whoever came safely to hand: family members, invited guests and trusted servants. By definition, then, Byrd’s Masses are really chamber music, not choral repertory, and it was never Byrd’s intention that they should be sung in the resonant ambience of a great church by a choir such as that of Westminster Cathedral.

Grand choral polyphony was, however, the stuff of Byrd’s main career; for he lived a double life. In public, Byrd was the towering member of Queen Elizabeth’s chapel royal, a choir that served monarch, court, and the swarm of overseas diplomats and visitors that mingled with them. This choir typically sang in the grand chapels of the queen’s palaces, such as Westminster, Greenwich and Richmond, and on occasions it also sang in more public places, even out of doors. It was for this choir, wearing his public hat as England’s foremost musician, that Byrd sang, composed and played the organ, and it was therefore with the Chapel Royal in mind that Byrd composed his Great Service, a work of the greatest splendour, setting texts from the Book of Common Prayer for use at Mattins, Eucharist and Evensong. But this was only one side of Byrd’s life. In private, he moved in the network of England’s Catholic community, whose religious beliefs he shared, and for whom he also wrote music—initially motets, but latterly also works for liturgical use, such as the three Masses and, later, the impressive cycle called Gradualia. As Byrd grew older his allegiances shifted, and he spent less time in London and more time with the Catholics in rural Essex, where he set up home. But his retreat never became a rift. Up to his death Byrd remained loyal to his queen [and king; Byrd died during the reign of James I] and his country, and he was tolerated at court even by those who knew of his double life. . . .

Read the rest here. The cover art is described thusly: The Madonna delle Ombre (1450, detail) by Fra Angelico (Guido di Pietro) (c1387-1455) Museo di San Marco dell'Angelico, Florence / Bridgeman Art Library, London

A Concert Not to Be Missed!--But I'll Miss It!!

The New Liturgical Movement blog highlights this concert:

A concert not to be missed: 'Splendours of Venice' is an opportunity to hear the Choir of Westminster Cathedral join forces with His Majestys Sagbutts and Cornetts in a celebration of choral and instrumental music by composers with strong Venetian associations. Monteverdi, Giovanni Gabrieli, Croce, Merulo, Hassler, Grillo, Frescobaldi and Guami are all represented, and Motets in 4, 8, 12 and 16 parts are interspersed with movements from Monteverdi's Mass (published in 1651), his five-part Beatus vir and eight-part Magnificat. Westminster Cathedral is the perfect setting, its Byzantine styling very much a visual echo of San Marco, and the siting of singers in the galleries and the use of the Cathedral's organs will provide dramatic effect.

Full programme:

Iubilate Deo, Giovanni Gabrieli
Gloria (1651 Mass), Monteverdi
Toccata quarta del secondo tuono (Primo libro), Merulo
Beatus vir, Monteverdi
Canzon Terza à 8, Grillo
In spiritu humilitatis, Croce
Hassler Canzon Duodecimitoni à 8, Hassler
Sanctus (1651 Mass), Monteverdi
Toccata Cromaticha per l'Elevatione (Messa della Domenica - Fiori Musicali), Frescobaldi
Agnus Dei (1651 Mass), Monteverdi
O sacrum convivium, Hassler
Canzon La Lucchesina à 8, Guami
Magnificat a 8, Monteverdi
Canzon Terza à 6, Giovanni Gabrieli
Plaudite omnis terra, Giovanni Gabrieli
Omnes gentes plaudite, Giovanni Gabrieli